Grapes Have To Be Crushed Quotes

I am a mess. Like that MargieMocha, I am spilled across a floor, but there's nobody to mop me up. I have only one thing to show for the day: Perry Delloplane. The sound of a name. It is a grape in my mouth. I roll it over and over on my tongue--perrydelloplaneperrydelloplaneperrydelloplaneperrydelloplane--but when I try to crush it with my teeth, it slips away.

You have crushed the grapes against your palate. Nothing has been hidden from you. And it has all been to you no more than the sound of music. It has not marred you.

The last clear definite function of man—muscles aching to work, minds aching to create beyond the single need—this is man....For man, unlike any other thing organic or inorganic in the universe, grows beyond his work, walks up the stairs of his concepts, emerges ahead of his accomplishments. This you may say of man—when theories change and crash, when schools, philosophies, when narrow dark alleys of thought, national, religious, economic, grow and disintegrate, man reaches, stumbles forward, painfully, mistakenly sometimes. Having stepped forward, he may slip back, but only half a step, never the full step back. This you may say and know it and know it. This you may know when the bombs plummet out of the black planes on the market place, when prisoners are stuck like pigs, when the crushed bodies drain filthily in the dust. You may know it in this way. If the step were not being taken, if the stumbling-forward ache were not alive, the bombs would not fall, the throats would not be cut. Fear the time when the bombs stop falling while the bombers live—for every bomb is proof that the spirit has not died. And fear the time when the strikes stop while the great owners live—for every little beaten strike is proof that the step is being taken. And this you can know—fear the time when Manself will not suffer and die for a concept, for this one quality is the foundation of Manself, and this one quality is man, distinctive in the universe.

Why did Our Blessed Lord use bread and wine as the elements of this Memorial? First of all, because no two substances in nature better symbolize unity than bread and wine. As bread is made from a multiplicity of grains of wheat, and wine is made from a multiplicity of grapes, so the many who believe are one in Christ. Second, no two substances in nature have to suffer more to become what they are than bread and wine. Wheat has to pass through the rigors of winter, be ground beneath the Calvary of a mill, and then subjected to purging fire before it can become bread. Grapes in their turn must be subjected to the Gethsemane of a wine press and have their life crushed from them to become wine. Thus, do they symbolize the Passion and Sufferings of Christ, and the condition of Salvation, for Our Lord said unless we die to ourselves we cannot live in Him. A third reason is that there are no two substances in nature which have more traditionally nourished man than bread and wine. In bringing these elements to the altar, men are equivalently bringing themselves. When bread and wine are taken or consumed, they are changed into man's body and blood. But when He took bread and wine, He changed them into Himself.

You work that you may keep pace with the earth and the soul of the earth. For to be idle is to become a stranger unto the seasons, and to step out of life's procession, that marches in majesty and proud submission towards the infinite. When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison? Always you have been told that work is a curse and labour a misfortune. But I say to you that when you work you fulfil a part of earth's furthest dream, assigned to you when that dream was born, And in keeping yourself with labour you are in truth loving life, And to love life through labour is to be intimate with life's inmost secret. But if you in your pain call birth an affliction and the support of the flesh a curse written upon your brow, then I answer that naught but the sweat of your brow shall wash away that which is written. You have been told also that life is darkness, and in your weariness you echo what was said by the weary. And I say that life is indeed darkness save when there is urge, And all urge is blind save when there is knowledge, And all knowledge is vain save when there is work, And all work is empty save when there is love; And when you work with love you bind yourself to yourself, and to one another, and to God. And what is it to work with love? It is to weave the cloth with threads drawn from your heart, even as if your beloved were to wear that cloth. It is to build a house with affection, even as if your beloved were to dwell in that house. It is to sow seeds with tenderness and reap the harvest with joy, even as if your beloved were to eat the fruit. It is to charge all things you fashion with a breath of your own spirit, And to know that all the blessed dead are standing about you and watching. Often have I heard you say, as if speaking in sleep, "He who works in marble, and finds the shape of his own soul in the stone, is nobler than he who ploughs the soil. And he who seizes the rainbow to lay it on a cloth in the likeness of man, is more than he who makes the sandals for our feet." But I say, not in sleep but in the overwakefulness of noontide, that the wind speaks not more sweetly to the giant oaks than to the least of all the blades of grass; And he alone is great who turns the voice of the wind into a song made sweeter by his own loving. Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

I got the feeling that if I moved the frames to the side, I'd see the artists watching me, as though through a two-way mirror, cracking their arthritic knuckles and rubbing their stubbled chins, wondering what I was wondering about them, if I saw their brilliance, or if their lives had been pointless, if only God could judge them after all. Did they want more? Was there more genius to be wrung out of the turpentine rags at their feet? Could they have painted better? Could they have painted more generously? More clearly? Could they have dropped more fruit from their windows? Did they know that glory was mundane? Did they wish they'd crushed those withered grapes between their fingers and spent their days walking through fields of grass or being in love or confessing their delusions to a priest or starving like the hungry souls they were, begging for alms in the city square with some honesty for once? Maybe they'd lived wrongly. (...) Or maybe not. Maybe, in the morning, they were aloof and happy to distract themselves with their brushes and oils, to mix their colors and smoke their pipes and go back to their fresh still lives without having to swat away any more flies.

In water so fine, a few minutes of bad memory all but disappear downstream, washed away by ten thousand belly busters, a million cannonballs. Paradise was never heaven-high when I was a boy but waist-deep, an oasis of cutoff blue jeans and raggedy Converse sneakers, sweating bottles of Nehi Grape and Orange Crush, and this stream. I remember the antidote of icy water against my blistered skin, and the taste of mushy tomato and mayonnaise sandwiches, unwrapped from twice-used aluminum foil. I saw my first water moccasin here, and my first real girl, and being a child of the foot washers I have sometimes wondered if this was my Eden, and my serpent. If it was, I didn't hold out any longer than that first poor fool did.

What an exquisite life you have had! You have drunk deeply of everything. You have crushed the grapes against your palate. Nothing has been hidden from you. And it has all been to you no more than the sound of music. It has not marred you. You are still the same.

For man, unlike any other thing organic or inorganic in the universe, grows beyond his work, walks up the stairs of his concepts, emerges ahead of his accomplishments. This you may say of man when theories change and crash, when schools, philosophies, when narrow dark alleys of thought, national, religious, economic, grow and disintegrate, man reaches, stumbles forward, painfully, mistakenly sometimes. Having stepped forward, he may slip back, but only half a step, never the full step back. This you may say and know it and know it. This you may know when the bombs plummet out of the black planes on the market place, when prisoners are stuck like pigs, when the crushed bodies drain filthily in the dust. You may know it in this way. If the step were not being taken, if the stumbling-forward ache were not alive, the bombs would not fall, the throats would not be cut. Fear the time when the bombs stop falling while the bombers live- for every bomb is proof that the spirit has not died. And fear the time when the strikes stop while the great owners live- for every little beaten strike is proof that the step is being taken. And this you can know- fear the time when Manself will not suffer and die for a concept, for this one quality is the foundation of Manself, and this one quality is man, distinctive in the universe.

The Garden of Proserpine" Here, where the world is quiet; Here, where all trouble seems Dead winds' and spent waves' riot In doubtful dreams of dreams; I watch the green field growing For reaping folk and sowing, For harvest-time and mowing, A sleepy world of streams. I am tired of tears and laughter, And men that laugh and weep; Of what may come hereafter For men that sow to reap: I am weary of days and hours, Blown buds of barren flowers, Desires and dreams and powers And everything but sleep. Here life has death for neighbour, And far from eye or ear Wan waves and wet winds labour, Weak ships and spirits steer; They drive adrift, and whither They wot not who make thither; But no such winds blow hither, And no such things grow here. No growth of moor or coppice, No heather-flower or vine, But bloomless buds of poppies, Green grapes of Proserpine, Pale beds of blowing rushes Where no leaf blooms or blushes Save this whereout she crushes For dead men deadly wine. Pale, without name or number, In fruitless fields of corn, They bow themselves and slumber All night till light is born; And like a soul belated, In hell and heaven unmated, By cloud and mist abated Comes out of darkness morn. Though one were strong as seven, He too with death shall dwell, Nor wake with wings in heaven, Nor weep for pains in hell; Though one were fair as roses, His beauty clouds and closes; And well though love reposes, In the end it is not well. Pale, beyond porch and portal, Crowned with calm leaves, she stands Who gathers all things mortal With cold immortal hands; Her languid lips are sweeter Than love's who fears to greet her To men that mix and meet her From many times and lands. She waits for each and other, She waits for all men born; Forgets the earth her mother, The life of fruits and corn; And spring and seed and swallow Take wing for her and follow Where summer song rings hollow And flowers are put to scorn. There go the loves that wither, The old loves with wearier wings; And all dead years draw thither, And all disastrous things; Dead dreams of days forsaken, Blind buds that snows have shaken, Wild leaves that winds have taken, Red strays of ruined springs. We are not sure of sorrow, And joy was never sure; To-day will die to-morrow; Time stoops to no man's lure; And love, grown faint and fretful, With lips but half regretful Sighs, and with eyes forgetful Weeps that no loves endure. From too much love of living, From hope and fear set free, We thank with brief thanksgiving Whatever gods may be That no life lives for ever; That dead men rise up never; That even the weariest river Winds somewhere safe to sea. Then star nor sun shall waken, Nor any change of light: Nor sound of waters shaken, Nor any sound or sight: Nor wintry leaves nor vernal, Nor days nor things diurnal; Only the sleep eternal In an eternal night.

It is not so much what people suffer that makes the world mysterious; it is rather how much they miss when they suffer. They seem to forget that even as children they made obstacles in their games in order to have something to overcome. Why, then, when they grow into man’s estate, should there not be prizes won by effort and struggle? Cannot the spirit of man rise with adversity as the bird rises against the resistance of the wind? Do not the game fish swim upstream? Must not the chisel cut away the marble to bring out the form? Must not the seed falling to the ground die before it can spring forth into life? Must not grapes be crushed that there may be wine to drink, and wheat ground that there may be bread to eat? Why then cannot pain be made redemption? Why under the alchemy of Divine Love cannot crosses be turned into crucifixes? Why cannot chastisements be regarded as penances? Why cannot we use a cross to become God-like? We cannot become like Him in His Power; we cannot become like Him in His Knowledge. There is only one way we can become like Him, and that is in the way He bore His sorrows and His Cross. And that way was with love. It is love that makes pain bearable.

Well, what you ding this kind of work for--against your own people?" "Three dollars a day. I got damn sick of creeping for my dinner--and not getting it. I got a wife and kids. We got to eat. Three dollars a day and it comes every day." "But for your three dollars a day fifteen or twenty families can't eat at all. Nearly a hundred people have to go and wander on the roads for your three dollars a day. Is that right?" "Can't think of that. Got to think of my own kids." *** "Nearly a hundred people on the road for your three dollars. Where will we go?" "And that reminds me, you better get out soon. I'm going through the dooryard after dinner...I got orders wherever there's a family not moved out--if I have an accident--you know, get too close and cave in the house a little--well, I might get a couple of dollars. And my youngest kid never had no shoes yet." "I built this with my hands...It's mine. I built it. You bump it down--I'll be in the window with a rifle..." "It's not me. There's nothing I can do. I'll lose my job if I don't do it. And look--suppose you kill me? They'll just hang you, but not long before you're hung there'll be another guy on the tractor, and he'll bump the house down. You're not killing the right guy." *** Across the dooryard the tractor cut, and the hard, foot-beaten ground was seeded field, and the tractor cut through again; the uncut space was ten feet wide. And back he came. The iron guard bit into the house-corner, crumbled the wall and wrenched the house from its foundation so that it fell sideways,crushed like a bug...The tenant man stared after [the tractor], his rifle in his hand. His wife beside him, and the quiet children behind. And all of them stared after the tractor.

I believe that sake and wine are the only drinks in the world that have achieved the level of being forms of art. Wine is made from grapes. Grapes have a lot of sugar in them to start with. Although it's a gross simplification, if you crushed the grapes and put them in a barrel they'd naturally ferment and turn into wine. But that's not the case with sake. In order for fermentation to occur, the starch in the rice has to be converted into sugar. And that involves a far more complex and difficult process than what's involved in making wine. In the entire world, no other country has developed such a refined drink out of cereal grains. What you usually get out of cereal grains is something like beer, which has a low proof... ... or a distilled liquor like whiskey, which has a high one. I want you to understand what a wonderful and unique thing sake is... ... and to appreciate the amazing skill it takes to create a drink that is practically an art form out of plain rice.

…Wondering what I was wondering about them, if I saw their brilliance, or if their lives had been pointless, if only God could judge them after all. Did they want more? Was there more genius to be wrung out of the turpentine rags at their feet? Could they have painted better? Could they have painted more generously? More clearly? Could they have dropped more fruit from their windows? Did they know that glory was mundane? Did they wish they’d crushed those withered grapes between their fingers and spent their days walking through fields of grass or being in love or confessing their delusions to a priest or starving like the hungry souls they were, begging for alms in the city square with some honesty for once? Maybe they’d lived wrongly. Their greatness might have poisoned them. Did they wonder about things like that? Maybe they couldn’t sleep at night. Were they plagued by nightmares? Maybe they understood, in fact, that beauty and meaning had nothing to do with one another.

Amazing Grace” Amazing grace, how sweet the sound, That saved a wretch like me! I once was lost, but now am found; Was blind, but now I see. ’Twas grace that taught my heart to fear, And grace my fears relieved; How precious did that grace appear, The hour I first believed. Through many dangers, toils and snares, I have already come; ’Tis grace hath brought me safe thus far, And grace will lead me home. The Lord has promised good to me, His Word my hope secures; He will my Shield and Portion be, As long as life endures. Yea, when this flesh and heart shall fail, And mortal life shall cease, I shall possess, within the veil, A life of joy and peace. The earth shall soon dissolve like snow, The sun forbear to shine; But God, who called me here below, Will be forever mine. When we’ve been there ten thousand years, Bright shining as the sun, We’ve no less days to sing God’s praise, Than when we’d first begun. Lyrics by John Newton, 1779 “Swing Low, Sweet Chariot” (Chorus) Swing low, sweet chariot, Coming for to carry me home. Swing low, sweet chariot, Coming for to carry me home. I looked over Jordan, and what did I see? (Coming for to carry me home) A band of angels coming after me. (Coming for to carry me home) (Chorus) If you get there before I do, (Coming for to carry me home) Tell all of my friends, that I'm coming there too. (Coming for to carry me home) (Chorus) Traditional lyrics Wallis Willis, circa 1865 “Battle Hymn of the Republic” Mine eyes have seen the glory of the coming of the Lord; He is trampling out the vintage where the grapes of wrath are stored; He hath loosed the fateful lightning of His terrible swift sword: His truth is marching on. (Chorus) Glory, Glory, hallelujah! Glory, glory, hallelujah! Glory, glory, hallelujah! His truth is marching on. I have seen Him in the watch-fires of a hundred circling camps, They have builded Him an altar in the evening dews and damps; I can read His righteous sentence in the dim and flaring lamps: His day is marching on. (Chorus) I have read a fiery gospel writ in burnished rows of steel: "As ye deal with my contemners, so with you my grace shall deal"; Let the Hero, born of woman, crush the serpent with his heel, Since God is marching on. (Chorus) He has sounded forth the trumpet that shall never call retreat; He is sifting out the hearts of men before His judgment-seat; Oh, be swift, my soul, to answer Him! Be jubilant, my feet! Our God is marching on. (Chorus) In the beauty of the lilies Christ was born across the sea, With a glory in His bosom that transfigures you and me. As He died to make men holy, let us die to make men free, While God is marching on. Lyrics by Julia Ward Howe, 1861

She lay quiet, looking at the ceiling. 'I wish the peace to come back,' she said. 'He himself is the peace. He comes if we invite him, and stays, if we ask. It's ourselves who wander away.' 'Why do we wander away?' 'Its the old free-will business—we're charmed by the self, by our own pointless self-seeking.' 'What does he want from us?' 'He wants us to ask him into our lives, to give everything over to him, once and for all.' 'I can't imagine.' 'I couldn't either. I heard it preached and talked about all my life. I exegeted Romans and memorized vast amounts of scripture before I was twelve years old, but somehow it went in one ear and out the other—I got the bone, but not the marrow. Long after becoming a priest, I remained terrified of surrendering anything, much less everything. And then one day I did.' 'Why?' 'Because I could no longer bear the separation from him.' She licked her dry lips. 'You said there would be nothing to lose.' 'And everything to gain.' 'I don't wish to be humiliated.' 'By God?' He took the lid from the balm and moistened the swab. 'By anyone, and especially God.' 'God does not humiliate the righteous. He may fire us in the kiln to make us vessels, crush us like grapes so we become wine—but he never humiliates. That is the game of little people.' 'I have always depended on my own resources.' 'God gives us everything, including resources. But without him in our lives, even our resources fail.' He applied the balm. 'Tell me again why the peace comes—and then goes away.' 'His job is to stick with us, no matter what, and it's our job to stay close to him. Draw nigh to me, he says, and I will draw nigh to you. When we wander away, all we need to do is cry out to him, and he draws us back—into his peace, his love, his grace. He doesn't wander, we do.' 'Why must it come to this? Why must our lives be shackled to some so-called being who can't even be seen?' 'But he can be seen. We see him in each other every day. I see him in you.' She closed her eyes, A long breath from her, as if she'd been holding it back. 'I've hurt many people,' she said 'Despair can be passed like a wafer to everyone around us, especially to those close to us. Into the bloodstream it goes, and down along the family line . . . .' 'Such an emptiness,' she said. 'Blaise Pascal . . . said, There's a God-shaped vacuum in the heart of every person, and it can't be filled by any created thing. It can only be filled by God, made know through Jesus Christ.' 'I don't wish to go on . . . without the peace . . . .' It was his own surrender he saw in her.

The big man glanced at him, a friendly look. Across the hogan, Leaphorn noticed, two of the women were smiling at him. He was a stranger, a policeman who had arrested one of them, a man from another clan, perhaps even a witch, but he was accepted with the natural hospitality of the Dinee. He felt a fierce pride in his people, and in this celebration of womanhood. The Dinee had always respected the female equally with the male — giving her equality in property, in metaphysics and in clan — recognizing the mother’s role in the footsteps of Changing Woman as the preserver of the Navajo Way. Leaphorn remembered what his mother had told him when he had asked how Changing Woman could have prescribed a Kinaalda cake “a shovel handle wide” and garnished with raisins when the Dinee had neither shovels nor grapes. “When you are a man,” she had said, “you will understand that she was teaching us to stay in harmony with time.” Thus, while the Kiowas were crushed, the Utes reduced to hopeless poverty, and the Hopis withdrawn into the secret of their kivas, the eternal Navajo adapted and endured.

I don't know why human life seems to require suffering for growth to take place, or why things have to be taken away from us if we are to expand. The pattern branded on the human heart seems to be that only pain brings lasting change, that we must learn how to grieve if we want to truly celebrate, that we have to get lost in order to be found again. The lesson of the grape seems to apply here: in order to get the life out, something has to be crushed.

You, His fruit, having descended into the depths like Christ after being crushed, experienced the Inner Court fermentation. Now, however, that grape no longer exists. Something else has taken its place. The grape is now wine, having risen with new life in a new form like Christ. As a result, the veil that has always stood between the Vintner and the grapes no longer exists between the King and His wine.

Red wine and Hennessy She fell out of her bottle when she fell into love, cup running over, overflowing emotions in glass- red stained palet, on a pallet on the grass, to a quilt on the floor -affixed between lips and red lipstick on a shirt that he wore. A familiar place, she know she's been here before Reminiscent of the evening On his shirt that she tore ............ Drop by drop, puddle in glass getting lower- impressions in her gut, rim of her glass, hour glass figure moves counter clockwise - while absorbing the contents of merlot. Hard liquor and fine wine ............. Red Wine and Hennessy A wicked twist on some champagne tips French nails, manicures over grapes Whoever said wine and liquor don't mix? Last night I had six Bottle caps, corks, bedazzled juice Merlot was her name - slim waist - good taste slinger neck, red lace. Long stem, pedestal - hands embraced her face ............. room temperature, her body temperature ... personality of two, she's mellow and chill... aged to perfection- pop the seal- watch the erection ... splatters on the floor- covers the rug, Residue of red lipstick- Merlot stained lips match the kiss on his neck ............ Chasing fantasy through the Red Sea While chasing that with a white BC How much will she pour- how much will she drink How much more before her ship sinks ........... A full body lush, blackberry crush Medium sized Bordeaux Intense velvety plum I asked her where she's from She said she's international She's longer thinking rational .......... Sips in sync with blinking eyes She sips too much to realize Every time you pour into me, my bottle gets more empty- Glass falling to the floor She staggers to the door Glass shatters her feet She stumbles to her seat She's still asking for more But she falls to the floor Red lipstick in the mud She covers up the blood ............ She lays in her wine She forgot about the time Clock on the wall Footsteps in the hall Pounding in her head She rushes to the bed ......... She lays motionless ... but her head is racing Her heart is pacing Her lungs are gasping - air, she needs air Rolls to her side, brings her self to sit up She gags and gags until She throws it all up- ........... Wakes up the next morning Dazed and confused She's laying in a bed That she's not used to She moves slowly, where did everyone go? She checks the time- it's a quarter pass 4 sounds on the other side of the door Are Muffled by the sound of a knock at the door ........... Looks around for her little red dress Notices a blotch - a red stain on her breast Lipstick smeared an accessory to her mess She reached for her clothes and saw a note on the desk. .......... Dearly beloved, I want to see you again I'd love to have to back I think we make a great blend I tried to wake you Because I had to go And Oh by the way, my name is merlot "Little Black Bird

If we are ever going to be made into wine, we will have to be crushed—you cannot drink grapes. Grapes become wine only when they have been squeezed.     I wonder what finger and thumb God has been using to squeeze you?

Why are you so into Pinot?” 2 Maya asks. In the next 60 seconds of the movie, the character of Miles Raymond tells a story which would set off a boom in sales of Pinot Noir. It’s a hard grape to grow. It’s thin-skinned, temperamental, ripens early. It’s not a survivor like Cabernet, which can just grow anywhere and thrive even when it’s neglected. No, Pinot needs constant care and attention. In fact it can only grow in these really specific, tucked away corners of the world. And only the most patient and nurturing of growers can do it, really. Only somebody who really takes the time to understand Pinot’s potential can coax it into its fullest expression. Its flavors are the most haunting and brilliant and thrilling and subtle and ancient on the planet. Miles is describing himself in the dialogue and using Pinot as a metaphor for his personality. In this one scene moviegoers projected themselves on the character, feeling his longing and his quest to be understood. Sideways was a hit and won an Oscar for Best Adapted Screenplay. It also launched a movement, turning the misunderstood Pinot Noir into the must-have wine of the year. In less than one year after the movie’s 2004 fall release date, sales of Pinot Noir had risen 18 percent. Winemakers began to grow more of the grape to meet demand. In California alone 70,000 tons of Pinot Noir grapes were harvested and crushed in 2004. Within two years the volume had topped 100,000 tons. Today California wine growers crush more than 250,000 tons of Pinot Noir each year. Interestingly, the Japanese version of the movie did not have the same “Sideways Effect” on wine sales. One reason is that the featured grape is Cabernet, a varietal already popular in Japan. But even more critical and relevant to the discussion on storytelling is that Japanese audiences didn’t see the “porch scene” because there wasn’t one. The scene was not included in the movie. No story, no emotional attachment to a particular varietal. You see, the movie Sideways didn’t launch a movement in Pinot Noir; the story that Miles told triggered the boom. In 60 seconds Maya fell in love with Miles and millions of Americans fell in love with an expensive wine they knew little about.

Portrait of the Author" The birches are mad with green points the wood's edge is burning with their green, burning, seething—No, no, no. The birches are opening their leaves one by one. Their delicate leaves unfold cold and separate, one by one. Slender tassels hang swaying from the delicate branch tips— Oh, I cannot say it. There is no word. Black is split at once into flowers. In every bog and ditch, flares of small fire, white flowers!—Agh, the birches are mad, mad with their green. The world is gone, torn into shreds with this blessing. What have I left undone that I should have undertaken? O my brother, you redfaced, living man ignorant, stupid whose feet are upon this same dirt that I touch—and eat. We are alone in this terror, alone, face to face on this road, you and I, wrapped by this flame! Let the polished plows stay idle, their gloss already on the black soil. But that face of yours—! Answer me. I will clutch you. I will hug you, grip you. I will poke my face into your face and force you to see me. Take me in your arms, tell me the commonest thing that is in your mind to say, say anything. I will understand you—! It is the madness of the birch leaves opening cold, one by one. My rooms will receive me. But my rooms are no longer sweet spaces where comfort is ready to wait on me with its crumbs. A darkness has brushed them. The mass of yellow tulips in the bowl is shrunken. Every familiar object is changed and dwarfed. I am shaken, broken against a might that splits comfort, blows apart my careful partitions, crushes my house and leaves me—with shrinking heart and startled, empty eyes—peering out into a cold world. In the spring I would be drunk! In the spring I would be drunk and lie forgetting all things. Your face! Give me your face, Yang Kue Fei! your hands, your lips to drink! Give me your wrists to drink— I drag you, I am drowned in you, you overwhelm me! Drink! Save me! The shad bush is in the edge of the clearing. The yards in a fury of lilac blossoms are driving me mad with terror. Drink and lie forgetting the world. And coldly the birch leaves are opening one by one. Coldly I observe them and wait for the end. And it ends.